June 29, 2016

THE BODY and FULL OF HELL are pleased to confirm a collaborative North American tour in support of their One Day You Will Ache Like I Ache joint full-length, issued in March through Neurot Recordings . The nihilistic live takeover begins August 19th in Vancouver, British Columbia and tramples its way through nearly two-dozen cities, the tour drawing to a close on September 10th in Providence, Rhode Island. The journey will find both bands executing their sonic deviance as one unit, as well as performing new versions of old songs from each of their respective discographies. The latest run of dates follows the bands’ concerted European invasion this past April.

THE BODY/FULL OF HELL SUMMER 2016 TOUR:

8/19/2016 TBA - Vancouver, BC

8/20/2016 The Know – Portland, OR

8/21/2016 Oakland Metro - Oakland, CA

8/22/2016 Union - Los Angeles, CA

8/23/2016 51 West - Phoenix, AZ

8/24/2016 Launchpad - Albuquerque, NM

8/25/2016 Sidewinder - Austin, TX

8/26/2016 1912 Club - Ft. Worth, TX

8/27/2016 Liver Fest - Little Rock, AR

8/28/2016 Pu Fest - St. Louis, MO

8/29/2016 TBA - Kansas City, KS

8/30/2016 Triple Rock - Minneapolis, MN

8/31/2016 Frank’s Power Plant - Milwaukee, WI

9/01/2016 Empty Bottle - Chicago, IL

9/02/2016 Sanctuary - Detroit, MI

9/03/2016 Coalition - Toronto, ON

9/04/2016 Sugar City - Buffalo, NY

9/05/2016 Metro Gallery - Baltimore, MD

9/06/2016 Strange Matter - Richmond, VA

9/07/2016 1st Unitarian Church - Philadelphia, PA

9/08/2016 Middle East - Boston, MA *

9/09/2016 Market Hotel - Brooklyn, NY *

9/10/2016 Machines - Providence, RI w/ Magnets *

*w/ Gas Chamber

One Day You Will Ache Like I Ache came together during last year’s monolithic North American trek which united both bands. Amidst the chaos of tour life, the two groups found time to record together at Machines With Magnets in Providence, Rhode Island. The session eventually culminated into the harrowing sounds found on One Day You Will Ache Like I Ache, which is ultimately an audio reflection of their surroundings and their inability to cope therein. The record includes two bonus tracks as well as a bastardized rendition of Leonard Cohen’s “The Butcher.”

One Day You Will Ache Like I Ache is out now on Neurot Recording. To order your copy today visit THIS LOCATION.

“…a document of the overwhelming power of depression…” — Pitchfork

“One Day You Will Ache Like I Ache is unusual, disgusting, and just as harrowing as you’d come to expect from either THE BODY or FULL OF HELL. It’s one of the only truly unhinged albums that has come out in the last several years.”

– Metal Injection

“This release never feels like it is heading too much in one direction, managing to stay dynamic and repugnant at all time by switching between tortured doom and frantic attack.” -- Pure Grain Audio

“There’s some fucked up chemistry on their collaboration. On tracks like ‘Fleshworks’ and ‘The Little Death,” the bands forge new sounds that couldn’t have happened in any other context. Mostly though, the reinforce each other’s impulses towards abstraction.” – Decibel Magazine

“…an absolute assault on your senses that will leave an imprint for years to come…. For maximum experience, listen at full volume in a cold, bare and unclean room with flickering lights while half naked and in a deranged state.”

June 23, 2016

Neurosis’ SCOTT KELLY is currently performing with Hamlet at the Oregon Shakespeare Festival. The vocalist/guitarist plays the part of one of the Gravediggers, peasants or commoners that use their great wit and intellect to get the better of their superiors, other people of higher social status and each other. In addition to his role as Gravedigger, Kelly remains onstage for much of the performance’s duration playing music that serves as a soundtrack for the entire show and ultimately providing the sonic landscape for Hamlet’s psychological journey.

“This is an adventure for me,” KELLY reveals. “I have never scored a film or a play before and I've always wanted the opportunity to do so. Thanks to my employers of the last sixteen years, I am realizing this dream. Hamlet is an incredible ghost story about the darkest internal process. This production is amazing, the actors are some of the best at their craft in the world, and the director, Lisa Petterson, is nothing short of visionary. My co-collaberator, Paul James Prendergast, is one of my favorite people and it was his idea to bring me into this whole thing. I hope that as many of you who can be here will be here to share in this unique experience."

Hamlet is a tragedy written by William Shakespeare sometime between 1599 and 1602. Based in Denmark, the play dramatizes the revenge Prince Hamlet is called to wreak upon his uncle, Claudius, by the ghost of Hamlet's father, King Hamlet. Claudius had murdered his own brother and seized the throne, also marrying his deceased brother's widow. The spectral accusation torments Hamlet’s troubled mind, driving him to avenge a crime that may or may not be a product of his own imagining. Grand in scope, rich in language, this classic story of haunting, both literal and metaphorical, Hamlet is Shakespeare's longest play, and is ranked among the most powerful and influential tragedies in English literature.

The Oregon Shakespeare Festival is a not-for-profit professional theatre founded in 1935. The season runs from February through early November. OSF has three theatres: two indoor stages, the Angus Bowmer Theatre and the Thomas Theatre, and their flagship outdoor Allen Elizabethan Theatre where Hamlet takes place. OSF offers eleven different plays that include three or four by Shakespeare and seven by other classic writers, as well as modern and contemporary work and world premieres. The OSF mission statement: "Inspired by Shakespeare's work and the cultural richness of the United States, we reveal our collective humanity through illuminating interpretations of new and classic plays, deepened by the kaleidoscope of rotating repertory."

Hamlet plays twice a week through October 14th (note: KELLY will not appear in performances from Augutst 8th – 22nd as he will be touring Europe with NEUROSIS).

June 22, 2016

This September, two years after the release of Clearing The Path To Ascend, YOB shall return to Europe, delivering their purifying riff rituals across the continent. The full dates with Black Cobra as main support are as follows:

On Clearing The Path To Ascend, YOB are as as formidable as they’ve ever been, demanding the tandem attention of mind, body and soul. Drummer Travis Foster wields his signature rhythmic furor here with bombastic precision while bassist Aaron Rieseberg coils around the sonic tide with an unforgiving churn – all the while in a deadly synchronicity with Mike Scheidt’s uncanny vocal range and its pendulous movement between the triumphant howls of a medieval madman and the earth splitting growls of a war-battered titan. Take this opportunity to revisit this remarkable album.

"The magic of Yob's set tonight lies in the centrepiece of their band's latest album…all four tracks are strong and stunning, in particular Marrow, which allows Mike Scheidt's voice to roll out across the venue in waves of perfect sadness, bringing to life and colour the slowly moving song…Mike's singular voice is ushered in via crunching guitars and the song shifts forward towards the inescapable, earth-shattering end." - 9/10 METAL HAMMER

"Sometimes, bands do the praise levelled at them justice but sometimes they outstrip them by leagues. Tonight was the latter, and then some." - ROCK A ROLLA

"There's loud, and there's transcendently loud, and this performance of 'The Great Cessation' is towering, the tone so thick it's tactile."

June 21, 2016

As the key events of their 30 year milestone unfold, it comes with real pleasure to officially announce the name and release date of NEUROSIS' eleventh full length. Fires Within Fires will be released on September 23 via Neurot Recordings. More specific album details are imminent, but in the meantime fans can catch the band at one of twelve dates across Europe in August. They will be joined on select dates by Latvia's fascinating experimental trio, Tesa.

June 2, 2016

Today Oakland-based dark punk alchemists, ALARIC, are pleased to reveal the unsettling visual accompaniment to “Adore.” The track comes by way of the band’s End Of Mirrors full-length, released last month on CD, vinyl, and digital formats via Neurot Recordings, and on cassette via Sentient Ruin Laboratories.

The cryptic, mostly black and white clip was created by Lara Miranda and Patricia Cram and is currently playing at Decibel at THIS LOCATION.

Decibel dubs End Of MirrorsALARIC’s “best album yet.” No Rip Cord gushes, “Albums this compelling should be on constant rotation.” No Clean Singing notes, “if you are looking for something that is dark, aggressive, and more left-of-center than your typical metal band these days, then this is worth your time,” further elaborating, “Aggression is a key component of their sound; even in the album’s more passive moments, it’s still bubbling under the surface like a serial killer staring at himself in the mirror.” Nine Circle concurs, “End Of Mirrors is a study in all that is great about nearly three decades of largely British driven rock. The darkness, despair and questioning of existence aside, the music is damn catchy and hummable. Simply put, End Of Mirrors is 2016s version of Gold’s No Image — an album that doesn’t fit squarely within the metal genre yet will factor largely in the community’s conversation for years to come.” Cvlt Nation champions, “…a deathrock opera that brilliantly sews together the dusky emotivity of Bauhaus and Christian Death, the punishing and bleak atmospheres of Killing Joke and of the heaviest punk bands, and the desolate and hopeless atmospheres of the most crippling doom,” Abysmal Hymns hails a record that’s, “as heavy sonically as it is aggressive…. While this band might have come into my consciousness when the death rock revival rolled into the inner webs, a song like ‘Angel’ makes it clear that to dismiss this band as death rock is dramatically over simplifying it even at the most morose. The ghostly quality to this song doesn’t make you feel like you are sharing needles in West Hollywood on Halloween night. It is more expansive in the way it haunts you. It’s going to take a few more listens before this slow working drug is fully in my system, but it lives up to the legacy they began…” With End Of Mirrors, Last Rites finds ALARIC in their, “darkest, gloomiest condition,” hailing a, “splendid slice of dismal gothic/post-punk/deathrock produced by a band whose members have been entrenched in the punk scene for many years. And lucky for them, they're delivering some of their strongest material right in the midst of a rabid gothic trend.” Adds The Sleeping Shaman, “ALARIC walks a dangerous path on this second full length, gloom and doom is all their sound brings, but in a complex and open way. The sound minimalizes its means only to maximizes its impact. It works out wonderfully. A good one to listen to again…and probably again and again.”

ALARIC will bring their disconcerting odes to the stage later this month for stretch of live dates through July 1st. The band will also play a special show with Sabbath Assembly, Atriarch and Esses on July 30th. In August ALARIC will perform at Migration Fest along with The Body & Krieg, Full Of Hell, Khemmis, Kowloon Walled City, Magic Circle, Vhol and many others with additional live performances in the plotting stages.

ALARIC — featuring within its ranks current and former members of Dead And Gone, Pins Of Light, Noothgrush, Hedersleben and UK Subs — began their voyage in 2008 with an eye toward creating moody and compelling music unlike any other. Beginning with influences from such progenitors as Killing Joke and Christian Death to the darkest, heaviest punk bands and the most epic psychedelia, the band has dedicated itself to creating a singularly shadowy electric guitar-driven music. ALARIC’s previous releases include a debut single Animal/Shadow Of Life (FYBS/ Buried In Hell Records, 2010), a self-titled LP (20 Buck Spin, 2011) and a split 12” LP, with Atriarch (20 Buck Spin, 2012).

End Of Mirrors was captured and mixed by Skot Brown at Kempton House Studios and provides an emotional and deeply physical journey through inky, blackened sonic murk, devoid of all hope.

June 1, 2016

With the DEEP CUTS series, Neurot Recordings revisits the depths of our catalog, heralding the obscure, occasionally unsung and indisputably influential artists that we have had the honor of releasing. Our hope is to bring attention to the influential works that we have helped bring into the world. We believe these releases make up the core of who we are as a label.

SKULLFLOWER is transcendental sonic bliss. The band blew my fucking mind with IIIrd Gatekeeper in the early '90s. I was exploring drone music, psych guitars, freakish industrial music - but SKULLFLOWER did it in a way that felt so perfect, using rock instruments to create environmental waves of heavy dark trance music. Soon after, they unleashed Obsidian Shaking Codex - again, it was PERFECT! Exactly what I needed and craved. I longed to disappear into its mind expanding nature. "Diamond Bullet" followed by "Smoke Jaguar" ... go find it and check it out. Fast forward 16 years or so and we had the great fortune to get in contact with Matthew Bower and the honor to be able to release Strange Keys to Untune God's Firmament. This incarnation of SKULLFLOWER was exploring even darker sonic territory. It is best said on the words from our website:

Strange Keys to Untune God's Firmament evokes Wagnerian sonic bombast, a Nietzschean worldview, and a warlike cry of rebellion against the false, encased in a whirlwind both psychotropic and psychoacoustic. Each listen brings new themes to the forefront. Not easy listening by anyone's standards, this is not for the faint of heart, but instead for those willing to submit and immerse themselves in the deep thick waters of self transformation. - Steve Von Till